September 30 - November 26, 2022
From the artist:
I confess to being a Pogonophile a.k.a. someone who loves beards. More specifically, I like creating sculptural beards that can be worn for various occasions (usually to the dismay of my husband, who is decidedly NOT a pogonophile, especially where his wife is concerned).
Not only do I like making and wearing beards, I also like what bearding symbolizes. One definition of the verb beard is to boldly confront or challenge someone formidable. What can be more formidable that trying to conform to societal norms, especially gender norms? As a noun, a beard is a person who serves to divert attention from another person, providing a “cover” for their sexuality. A beard provides protection, diversion and concealment, as well as ornamentation.
In my artistic practice, I use beards and bearding as a tool to explore gender identity and bearding subcultures.
The CCA exhibition includes videos, artist books, photographs, solar plate etchings and of course–sculptural beards from recent projects over the past five years.
Colette Copeland Bio:
Inspired by Dada, and Situationist Theater, Colette Copeland is a multi-media visual artist whose work examines issues surrounding gender, death and contemporary culture. Sourcing personal narratives and popular media, she utilizes video, photography, performance and sculptural installation to question societal roles and the pervasive influence of media, and technology on our communal enculturation. Her videos employ experimental narrative techniques, and absurdist humor to explore the landscape of human relationships.
Over the past 28 years, Copeland’s work has been exhibited in 28 solo exhibitions and 145 group exhibitions/festivals spanning 35 countries. She received her BFA from Pratt Institute in New York and her MFA from Syracuse University. Currently she teaches art and digital media at University of Texas, and Collin Colleges in Dallas, Texas. She writes cultural and arts criticism for Glasstire online arts publication and is a member of International Art Critics Association.
She proudly admits to providing her children with years of “therapy” fodder. “
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